Arthur the King

Arthur the King

Everyone can relate to the idea of redemption.  I don’t mean in a religious sense, but getting another chance to succeed after failing the last time around.  Personally, if I thought about it for ten minutes, I would come up with a number of moments in my life that I wish I could do over.  But life usually doesn’t give us second chances, except when the failure involves sports.  In that case, you may get another chance simply because there’s always another season or, as is with Arthur the King, another race.

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Killers of the Flower Moon

Killers of the Flower Moon

Having not read the book that Killers of the Flower Moon is based on, I can’t say conclusively that the movie would have worked better if it had also told the story from the Federal Agent’s perspective. I suspect that it would have, because all criminal investigations have a natural propulsive quality to them that pull you in. True crime stories are addictive because viewers want to experience the thrill of the investigation and hopefully see justice served in the end. The problem Scorsese and co-writer Eric Roth reportedly had with using that structure is that it would have relegated the Osage to the periphery and placed white men as the central figures of the story (as both villains and heroes). However, in placing Mollie and the Osage at the center of the events, the story loses nearly all of its dramatic tension as a result. The movie explains who the bad guys are, what they are doing and why from very early on, and the story unfolds from there without any real surprises to it. The audience is asked to witness each killing (or mysterious death) until the federal agents eventually arrive to put a stop to things at the two hour mark.

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The Beekeeper

The Beekeeper

In The Beekeeper, Jason Statham plays Adam Clay, a literal beekeeper who works on the country estate of Phylicia Rashad’s Eloise.  How Rashad wound up in a Statham kick-punch vehicle I’ll never understand, but she’s a nice presence for as long as she’s around.  One day, Eloise gets a “Your computer is infected with a virus and you must call this number to clear it up” prompt on her laptop.  Like most senior citizens, she doesn’t know it’s a scam and calls the number.  The office she reaches has people wearing headsets and looks like a repurposed strip club, a telltale sign that the operation is not on the up-and-up.  The MO of this techno boiler room is to trick the person on the other end of the line to hand over their login credentials for their savings accounts.  For a movie that leaves reality behind fairly quickly, I have to acknowledge the filmmakers for using a relatable crime as the genesis for this story, and not the usual mobsters and drugs angle.

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The Iron Claw

The Iron Claw

It’s easy to start believing in curses, when bad things keep happening to you.  For Kevin Von Erich (Zac Efron), the eldest brother of the family at the center of The Iron Claw, the idea of a curse goes from being laughable to credible with each mounting tragedy.  I can’t blame him for deciding that his children will not inherit the Von Erich last name, because if there really is a curse, it surely would pass over someone named Adkisson.

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Wonka

Wonka

Like many people, I was very skeptical about Wonka.  The trailer, which tries too hard to appeal to younger and older audiences, had turned Willy Wonka into a guileless nerd who is singularly fixated on chocolate.  Yes, this movie is a prequel (of sorts), but I couldn’t see how the character ever becomes the one in Charlie and the Chocolate Factory.  I suspect that won’t happen, as Timothy Chalamet’s Wonka is far removed from Gene Wilder’s version of the character.  Having grown up with the 1971 movie, no one could ever match Gene Wilder’s eccentric performance in my mind.  So it stands to reason that this movie wouldn’t even try to go there.  Instead,  Chalamet’s Wonka is nothing like Wilder’s Wonka.  (Sorry, but Depp’s version doesn’t exist to me.)  While this Wonka may look like his predecessor, his personality is the polar opposite. Instead of being bitter and isolated, he’s full of youthful optimism and naivete.  Like the movie that surrounds him, this Wonka is funny, clever and cares about others, and I was won over by the end of the opening musical number.  Like Wilder, Chalamet isn’t a song and dance man.  However, his talent makes up for his lack of a musical actor’s pedigree.  However, he has enough handsomeness and charm to spare, and he sells his seven (7) numbers well enough in my opinion.  (Chalamet’s performance is akin to Ryan Gosling’s in La La Land in this regard.)

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Napoleon

Napoleon

He came.  He saw.  He conquered–in spite of himself.

Napoleon may look like a classic historical epic from the Fifties, but director Ridley Scott–who has made several pictures in this category, is not interested in treating his subject with admiration or even respect.  Instead, his movie mocks Napoleon from beginning to end, resulting in the cinematic equivalent of a rude gesture delivered for over two hours. 

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Priscilla

Priscilla

Priscilla opens with a signature Sofia Coppola montage.  Threaded with the credits are images  of personal items that belong to the eponymous character, as well as close-ups of her applying eyeliner and false eyelashes.  As it turns out, the special event in question is not just a very consequential one in Priscilla Presley’s life, but also one of the few instances where she will have the attention of the media.  When you’re married to The King of Rock & Roll, you have to make the most of what few opportunities have to make a good impression.  The irony of the event and Pricilla’s preparation for it speaks volumes about how dramatically her life had changed in the eight years since she met Elvis.

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Evil Dead Rise

Evil Dead Rise

The Evil Dead franchise is known for its wicked sense of humor, so what better way to kick off this latest entry than with a dig at dead teenager films?  Unlike its predecessors, Evil Dead Rise isn’t set in a secluded cabin in the woods, but at a cabin by a lake.  The sun is shining, the water is glistening and a couple of teenagers are annoying each other.  (Ah, hormones.)  The standoffish Teresa (Mirabai Pease) defiantly reads her paperback copy of Wuthering Heights while trying to ignore Caleb (Richard Crouchley), her cousin Jessica’s oafish boyfriend.  If you’ve seen more than one slasher movie, you know that these characters will soon be dead.  That’s true here, but this movie definitely wants to make a statement in that regard.

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